www.youtube.com/watch?v=bTOkBQp6MFw
A video compilation of performances
By Jozef Deville
Wednesday, July 8, 2009
Friday, June 26, 2009
Thursday, June 4, 2009
Danscentrum Jette Wk2 - solo time
Solos- Listening/Sound: solo for a blind spectator. Experimentation with sounds/text only. No judgement, doing and witnessing.
> Placing the voice in space. Working on the relationship between the spaces established in the beginning and what happens in those spaces later in the piece.
> Talking in 2nd/3rd person - to distance ourselves a bit from the action or emotion. To be freer. To use more general words or concepts so that the public can enter and make their own story, with more scope for imagination. We also did this exercise with the spectator's eyes open. How does it change when you are watched?
> Adding more movement to the stories.
Disassociation of words: squeeze partner's hand, they have to produce a word immediately. Try not to have words in a row that are related to each other- it's difficult!
Solos: throughout the week working 7-12,16mins generally. Not setting a time limit, but the length was fairly regular by itself. Topics: talking "normally", 2nd & 3rd person, awareness & inclusion of audience, varying tones of voice, where is my attention, characters, cohesive stories, chapters, noticing habits...
How to sustain a longer solo?
- repetition of movt/text/sound
-recontextualising movt/text/sound, specifically with space/time/place eg. 1945, summer, the street
- following attention really helps
- drastic change of dynamic/movt quality can shift the piece in a new direction, give energy
- creating characters and/or story
to be continued with Michel tomorrow in Belgica...
> Placing the voice in space. Working on the relationship between the spaces established in the beginning and what happens in those spaces later in the piece.
> Talking in 2nd/3rd person - to distance ourselves a bit from the action or emotion. To be freer. To use more general words or concepts so that the public can enter and make their own story, with more scope for imagination. We also did this exercise with the spectator's eyes open. How does it change when you are watched?
> Adding more movement to the stories.
Disassociation of words: squeeze partner's hand, they have to produce a word immediately. Try not to have words in a row that are related to each other- it's difficult!
Solos: throughout the week working 7-12,16mins generally. Not setting a time limit, but the length was fairly regular by itself. Topics: talking "normally", 2nd & 3rd person, awareness & inclusion of audience, varying tones of voice, where is my attention, characters, cohesive stories, chapters, noticing habits...
How to sustain a longer solo?
- repetition of movt/text/sound
-recontextualising movt/text/sound, specifically with space/time/place eg. 1945, summer, the street
- following attention really helps
- drastic change of dynamic/movt quality can shift the piece in a new direction, give energy
- creating characters and/or story
to be continued with Michel tomorrow in Belgica...
Wednesday, June 3, 2009
VEF street performance pictures
35mins slow motion up Ave Jean Volders, with audience participation!
Habits - Susanne leading
The basis for this research was how can we use awareness of our habitual movement/sound/text/performance relationships as a resource, moving into how to go against them, thereby having more possibilities (colours on our palette) to play with.
-We (Boris, Susanne, Barbara, Yoann, Domenico, Hanna) started off with a sensations warm up in couples- 1 giving sensations to move/make sound, 1 receiving/producing. We then worked as a group on timing, speed and duration, noticing which patterns/habits the group fell into in this exercise eg. long duration, medium speed, close proximity.
-we listed any habits we knew of ourselves in movement/sound/text/performance mode/ group relationships, then shared them with the group. After this we listed 1 or 2 habits of each person in the group and shared these too. Sometimes the habits other people noticed were a surprise to hear!
-Habit solo explorations (Susanne, Domenico, Hanna): taking one or more (internal or external, not group related) habits and going deeper into them, exploring how rich or boring the habit can be. Where can it lead me? What feelings/thoughts arise?
We concentrated on play/exploration and the witnessing of that, rather than thinking about "making a piece". This fragile state needed watching without expectation, or a feeling you have to produce. The gaze of the other helped us stay true to ourselves rather than triggering. We found that the more you discover, the more the audience gets (of course)!
-Non-habitual solo explorations: playing with the antithesis of your habit, or something(s) you do not usually do. Challenging yourself to try, and perhaps fail, but try anyway eg. me trying to talk more clearly, directly, and as myself, not a character.
-Change, sustain/develop, comment: Domenico suggested this game to break habitual patterns. The watchers could call out change when they saw a habitual pattern emerging, or develop when they saw something inhabitual. The comment option was to break D's pattern of saying text only when still and facing the audience directly, but would work for other people too.
Part II: Beginning of Danscentrum Jette residency (Susanne,Yoann, Agostina,Boris,Barbara) - I used the same warm up around sensations, then we worked on habit solos. We didn't get to the non-habitual stuff.
It was the start of an exploration that could go a lot further but we ran out of time. I would like to continue at some point with our interactive habits- exploring our habits in performing relationships, going deeper into them, and learning which ones we might want to override or break sometimes to open up other possibilities!
-We (Boris, Susanne, Barbara, Yoann, Domenico, Hanna) started off with a sensations warm up in couples- 1 giving sensations to move/make sound, 1 receiving/producing. We then worked as a group on timing, speed and duration, noticing which patterns/habits the group fell into in this exercise eg. long duration, medium speed, close proximity.
-we listed any habits we knew of ourselves in movement/sound/text/performance mode/ group relationships, then shared them with the group. After this we listed 1 or 2 habits of each person in the group and shared these too. Sometimes the habits other people noticed were a surprise to hear!
-Habit solo explorations (Susanne, Domenico, Hanna): taking one or more (internal or external, not group related) habits and going deeper into them, exploring how rich or boring the habit can be. Where can it lead me? What feelings/thoughts arise?
We concentrated on play/exploration and the witnessing of that, rather than thinking about "making a piece". This fragile state needed watching without expectation, or a feeling you have to produce. The gaze of the other helped us stay true to ourselves rather than triggering. We found that the more you discover, the more the audience gets (of course)!
-Non-habitual solo explorations: playing with the antithesis of your habit, or something(s) you do not usually do. Challenging yourself to try, and perhaps fail, but try anyway eg. me trying to talk more clearly, directly, and as myself, not a character.
-Change, sustain/develop, comment: Domenico suggested this game to break habitual patterns. The watchers could call out change when they saw a habitual pattern emerging, or develop when they saw something inhabitual. The comment option was to break D's pattern of saying text only when still and facing the audience directly, but would work for other people too.
Part II: Beginning of Danscentrum Jette residency (Susanne,Yoann, Agostina,Boris,Barbara) - I used the same warm up around sensations, then we worked on habit solos. We didn't get to the non-habitual stuff.
It was the start of an exploration that could go a lot further but we ran out of time. I would like to continue at some point with our interactive habits- exploring our habits in performing relationships, going deeper into them, and learning which ones we might want to override or break sometimes to open up other possibilities!
Thursday, May 14, 2009
Proposals Jette Residency
Last Wednesday we worked the Argentinian team: Boris, Barbara, Ana and me. We start on the evening and Barbara proposed to continue working in the idea of rolling in the body, discover like a part of the warming up, the different ways to roll in the body. Very nice to do. We realised that is a kind of ball in the snow, growing in the space and going faster and faster. Then we made pieces together, duos and trios. We talk about the Danscentrum Jette residency and we realised that the best is to organise the leading session in order of our needs. And we could isolate four elements that need to be worked on: 1) Ends (of pieces, of actions, etc) 2) Partering (dance in duets, trios, lifting) 3) Text 4) Supporting
We propose that the next person leading (Yoann?, can change in order to work on this of course) prepare the leading being inspired by these elements..
Please let us know also if some of you are really motivated by these elements.
Hope to see you very soon for more nice deeper impros!
We propose that the next person leading (Yoann?, can change in order to work on this of course) prepare the leading being inspired by these elements..
Please let us know also if some of you are really motivated by these elements.
Hope to see you very soon for more nice deeper impros!
Wednesday, April 1, 2009
Last sessions-BARBARA
Wednesday 18-03-09 La Raffinerie
We start with a warm up with the idea of functions but we follow to one person in his/her function
Someone call and functions and becomes the leader, everyone follow that person with the same function (if someone choose mirror, everybody will do mirror so copy her/his movements in space)
After we try then idea of improvising with functions but more open. There was no order and no function determined from before to enter the space and the composition begins. This was part of the warm up, when to choose for the correct moment to introduce a function. Each one could explore by themselves the right moment to call to a function and if doing it alone in relation to others or/and if join to the material of someone else.
Again: mirror, elaboration, source and filter. We took the others as inspiration to our own dance.
This works well and better than the last time when we couldn’t keep open the structure but still keep an eye on functions.
We finished this work doing long compositions. Altogether.
In the afternoon we did some more pieces with same concept trying into duos, trios and quartet.
Wednesday 25-03-09 La Raffinerie
We did a warm up with the idea of TIME. We take the awareness and perception to the action of dancing and observing while dancing WHEN we do movements, I propose three situations to work practically on the idea of TIME:
-Movements before another dancer
-Movements together with another dancer
-Movements after another dancer.
We experiment this idea altogether in space
Then I mention the idea to work dancing together or not dancing together in space,
how this could be?
We use the total space and then we took a part of it, in between four columns and we talk about the diverse fronts in order to work with the idea of three dimensionality, space and volume towards what is being produced.
We did some compositions afterwards with the same idea of TIME including the possibility to work in Past-Present-Future related to our actions and movements while being alone or with the group.
We try out also to be aware of the piece that was being created and how we can work with the same idea in relation to the piece from the beginning of it.
We choose a clear beginning, starting from out from space at the back of the stage, not entering from the audience.
Wednesday 1-04-09 La Raffinerie
We warm up with eyes close for 20 minutes when the dancers were encouraged to listen- observe and perceive the feelings of the physical state today. Not to change just to observe and go deep into it.
Not to put attention to create but just to let the body talk from the inner body.
Connecting after a while with the lights/sounds coming from outside and with eventual meetings with the limits of space or a non intentional cross with another dancer.
Once we open eyes we did an exercise from last work we learned about viewpoints. Starting together moving, walking on total space, increasing speed, arriving to maximum speed and the coming back to minimum speed, pretending being together all the time. Practicing being together.
We work again on the idea of TIME, how long take our actions? When we decide to be together, to be after or to be with another dancer.
We did pieces first again in reduce space and then in total space.
We start with a warm up with the idea of functions but we follow to one person in his/her function
Someone call and functions and becomes the leader, everyone follow that person with the same function (if someone choose mirror, everybody will do mirror so copy her/his movements in space)
After we try then idea of improvising with functions but more open. There was no order and no function determined from before to enter the space and the composition begins. This was part of the warm up, when to choose for the correct moment to introduce a function. Each one could explore by themselves the right moment to call to a function and if doing it alone in relation to others or/and if join to the material of someone else.
Again: mirror, elaboration, source and filter. We took the others as inspiration to our own dance.
This works well and better than the last time when we couldn’t keep open the structure but still keep an eye on functions.
We finished this work doing long compositions. Altogether.
In the afternoon we did some more pieces with same concept trying into duos, trios and quartet.
Wednesday 25-03-09 La Raffinerie
We did a warm up with the idea of TIME. We take the awareness and perception to the action of dancing and observing while dancing WHEN we do movements, I propose three situations to work practically on the idea of TIME:
-Movements before another dancer
-Movements together with another dancer
-Movements after another dancer.
We experiment this idea altogether in space
Then I mention the idea to work dancing together or not dancing together in space,
how this could be?
We use the total space and then we took a part of it, in between four columns and we talk about the diverse fronts in order to work with the idea of three dimensionality, space and volume towards what is being produced.
We did some compositions afterwards with the same idea of TIME including the possibility to work in Past-Present-Future related to our actions and movements while being alone or with the group.
We try out also to be aware of the piece that was being created and how we can work with the same idea in relation to the piece from the beginning of it.
We choose a clear beginning, starting from out from space at the back of the stage, not entering from the audience.
Wednesday 1-04-09 La Raffinerie
We warm up with eyes close for 20 minutes when the dancers were encouraged to listen- observe and perceive the feelings of the physical state today. Not to change just to observe and go deep into it.
Not to put attention to create but just to let the body talk from the inner body.
Connecting after a while with the lights/sounds coming from outside and with eventual meetings with the limits of space or a non intentional cross with another dancer.
Once we open eyes we did an exercise from last work we learned about viewpoints. Starting together moving, walking on total space, increasing speed, arriving to maximum speed and the coming back to minimum speed, pretending being together all the time. Practicing being together.
We work again on the idea of TIME, how long take our actions? When we decide to be together, to be after or to be with another dancer.
We did pieces first again in reduce space and then in total space.
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